To Universal Edition, for providing many items from their archives, and for permission to quote copiously.
To the major libraries in the then Soviet Union, especially the music libraries in the Moscow Lenin Library and the Leningrad (now St. Petersburg) Saltykov-Shchedrin Library.
To the Library of Congress, Washington, the New York Public Library, the British Library, and the Berlin Staatsbibliothek.
To the Music Librarian of the School of Music ( Australian National University), Marianna Pikler, for help with a complex research project.
To the Director of the School of Music ( Australian National University), John Painter, for providing funds for expensive research.
To Alexander Ivashkin, friend, cellist and musicologist extraordinaire, ex-Moscow, now Christchurch University, New Zealand, for invaluable advice and practical assistance.
To Tonia Shand and the Department of Foreign Affairs and Trade (Cultural Section) for tracking down some hard-to-get material from Russia.
To Editions Salabert for permission to use excerpts from Lourié and Obukhov.
To Durand S.A. Editions Musicales for permission to use excerpts from Obukhov.
To my pupils (in chronological order), Kate Bowan and Ann-Maree Wilkinson, for long hours at the microfilm printer and photocopier, as well as for additional research; and finally, for realizing many of the scores in performance.
To my long-suffering family: my son David, for all the computer and typesetting work in LATEX, my daughter Petra, for the awful job of preparing the music examples, and my wife Magda, for endless hours of proof reading.